All the RAW files captured get fine tuned in Capture One, in my opinion the best image processor out there. Color balance, contrast, brightness, perspective, ect. are adjusted. Then the architectural photography files are processed and are retouched, where small imperfections and outlets are cleaned up.

Sky, building and window paths combined.

Then the images go through Photoshop where the individual layers are created and assembled into a master file. Each layer has detailed masks around the building parts, the vegetation, the sky, ect. which allows us to composite the image out of the separate exposures taken on location. In the image to the left you see a simplified view of some of the main layers: vegetation, garden and interior through the glass wall, outside walls lit by a strobe, house and sky. That’s how architectural photography is created today.

Finalizing the architectural image files

Then it’s a round trip back into Capture One, where perspective is adjusted, highlights and colors are tweaked and the final files are prepared to be delivered to the client. Metadata is added and the files are uploaded int my photoshelter account and delivered to the client via password protected web gallery.
My favorite part of the whole shoot, is an excited client, who loves the images taken of her design. This image has taken quite some time to build, from scouting to shooting to spending time in post production, but the transformation from the scouting shot is a far cry from the final shot, don’t you think?

The snapshot I took on the scouting trip and the final constructed image on the right.

Last week we looked at what goes into planning an architectural photo shoot – next week we’re going to dive into the post production workflow, but today it’s about actually photographing architecture. Looking for lines and light that you will record on the day of the shoot. Today we get down to brass tacks: we’re gonna catch the light in motion!

Our house – in the middle of our street

On the day of the shoot, I’m on location 3 hours before sunset. I’d rather wait than hurry. Since I already know where the camera will be set up for my shot, no time is wasted. In this specific instance, since we’re able to look through the house into the yard – the elevation of the camera is crucial as well – I need to see the water feature over the pool.

First of all you need a rock solid tripod, because we’re gonna layer a bunch of different photos together into one file (check out tomorrow’s post about the post production, that goes into photographing architecture.) Then I set up my computer, because I am shooting my camera tethered. My MacBookPro runs Capture One and since we’ll be out here for a few hours, is plugged into a GoalZero battery for some extra juice.

Why do I shoot tethered? It allows me to see more details during the shoot and I can trigger the camera via Capture One’s app called ‘capture pilot’ remotely, allowing me to stand in front of the house – away from the camera – to trigger a flash and avoid any vibration, since my exposure is often 8-15 seconds.

Photographing architecture out of my car.

How do you protect your camera and tripod from moving even a fraction of an inch, when you set up in the middle of the street? You park your car, which also give you a nice desk to set up your computer work station in the middle of a (fortunately quiet, residential) street. Then it’s really just waitingto catch the perfect light. One exposure right after dusk for a beautiful dark blue rich sky. One more for the interior and exterior lights, another for my tungsten lighs in the yard behind the house and so on.

Architectural photo shoot – planning out all the details

Recently I had the opportunity to create a series of architectural photographs of this beautiful building for an architect friend of mine. She’s created this stunning house on one of the islands on the beautiful venetian causeway that connects Miami with Miami Beach. Check out how this image is created from the initial scout, to the photo shoot and through post production in this series. Today we start with the planning part of the shoot.

The Dilido house photographed for a South American architect on a recent architectural photo shoot.

Architectural photography is about lines and light

“We need to show long lines” the architect tells me. She right, after all she’s designed this beauty and understands all the intricate details of the house better than anyone. Capturing her vision, that started on a drawing board, begins with a visit to the house. I insisted to meet her at the house were going to photograph, since I want to see what she’s passionate about. So the week before the shoot I meet with her at the house, with my iPhone (and a couple of cool apps) to get to know the house. Primarily it’s about her vision, but I also need to see where the sun will be, since we’re not just chasing long lines. We’re also here to catch the light.

A dichotomy: immobile structures and a sun, that doesn’t stand still

You used to have to be part astronomer to be able to calculate the path of the sun, today there’s an app for that. I use an app